Peter Mullan

Peter Mullan
Peter Mullan is a Scottish actor and filmmaker. He is best known for his role in Ken Loach's My Name Is Joe, for which he won Best Actor Award at 1998 Cannes Film Festival. He is also winner of the World Dramatic Special Jury Prize for Breakout Performances at 2011 Sundance Film Festival for his work on Paddy Considine's Tyrannosaur. Mullan appeared as supporting or guest actor in numerous cult movies, including Ken Loach's Riff-Raff, Mel Gibson's Braveheart, Danny Boyle's...
NationalityScottish
ProfessionMovie Actor
Date of Birth2 November 1959
As a dad I'm emotionally dedicated but I'm not 'figuring out their life plans'. But of course as I'm telling them about the rights of wrongs I'm thinking back to what I was like at their age.
I was on the set of 'Braveheart' and my mate says to me, 'Do you think this film will be any good?' And I really meant this, too, I told him 'Let me put it this way - It won't win any awards.' Cut to: five Oscars.
There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer', that director's going to hate your guts. Particularly if it's a good idea.
Truth is I don't think God on a daily basis. I think politics, science.
In terms of popular cinema, 'One Flew Over the Cuckoo's Nest' is as near perfection as I can think of.
Watching people just look out for themselves, I think, is extremely interesting. It goes right back to something like 'The Beggar's Opera' - the underbelly of society, how it operates, and how that reflects their so-called betters.
Most actors I know come from a screwed up background, so it makes sense that if you can walk on to a space and recreate your reality, then that's the place that will become very dear.
The working-class aspirations are worse now than when I was a kid - and it was pretty bad when I was a kid. Reality TV means they are being told they are no longer a working class, they're an underclass. Young lassies want to be Jordan or Jade, but very few aspire to be the next Germaine Greer.
Part of the reason why so many actors lose the plot when they go over to America is that they become part of an industry, so that's why they don't want to play weak, bad or vulnerable guys - because that's not sellable; that diminishes their profit margin.
If you go into a bank or a shop and you want them to believe that you're going to shoot them, that's an acting exercise. If you want to turn to someone else who's as tooled up as you are and persuade them to put their knife down because you'll use your knife, that's an acting exercise. Nine out of 10 delinquents are frustrated actors.
The Vatican is like a huge kind of magician's club. The more you look into it the more awful it becomes. And they're laughing at us. That's when I get angry.
I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.
No hard guy's not scared when another hard guy's knife is coming at you. You're scared, obviously, but you've to act less scared than he is. It's who is going to act less scared.
If you are the kind of guy who draws in 100 million people to see his film, you've got every right to be paid accordingly, but I qualify as a character actor. I don't put a bum on a seat.